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During the DealBook Summit event (via Variety), Zaslav explains that while it was by no means easy to come up with a “strategic decision,” choosing not to release the Batgirl project was the right thing to do.
“What content is going to help us win? The content that wasn’t, we made a strategic decision on. It was difficult and it was painful. But I think it was the right decision for the company and it was necessary,” said Zaslav.
Batgirl’s cancellation becomes one of Hollywood’s most controversial decisions
The sudden cancellation of Batgirl in 2022 has been deemed one of the most controversial moves in Hollywood thus far. With tax write-offs being the main reason behind the decision, the scrapping of Batgirl also led to other projects not seeing the light of day, including Coyote Vs. Acme and Scoob! Holiday Haunt.
Of course, given that Batgirl was nearly finished, the announcement created quite a stir online. But for Zaslav, canceling the mentioned projects was not entirely a bad thing.
“We decided that we had to have courage. The question is, should we take certain of these movies and open them in the theater and spend another $30 [million] or $40 million to promote them? When I look at the health of our company today, we needed to make those decisions. And it took real courage,” he added.
The future of Grace’s Batgirl remains obscure at this point considering the number of controversies the studio has been facing over the past year. Adil El Arbi and Bilall Fallah served as the project’s directors, based on a screenplay by The Flash and Birds of Prey writer Christina Hodson.
Some big names were also said to be involved in the canceled movie, including Michael Keaton, J. K. Simmons, Brendan Fraser, Jacob Scipio, Ivory Aquino, Ethan Kai, Rebecca Front, and Corey Johnson.
The new figure will be a part of Super7’s Ultimates line, a line of premium figures that aim to deliver highly detailed and intricately sculpted collectibles to fans. The Godzilla figure is no exception there and stands at just over 8 inches tall with a fully articulated tail that stretches out to be over 14 inches.
Godzilla figure features articulated tail, extra head accessory
The figure only comes with one additional accessory in the form of an extra head that’s modeled to be roaring, however, so fans will have to make do with just the giant Godzilla toy on its own.
The Godzilla Minus One figure will be available beginning on December 1, 2023 for $85. It will be up for preorder on the official Godzilla store instead of Super7’s site. It’s unclear if other variants will be made in the future as of now.
If you are wondering where to watch and stream Heaven Official’s Blessing Season 2 Episode 8 online, then look no further. Based on the Chinese novel series Tian Guan Ci Fu by Mo Xiang Tong Xiu, this anime series follows Xie Lian, the Crown Prince of the Xian Le kingdom. He has ascended to Heaven twice but was quickly banished to mortal realms. Unbeknownst to Xie Lian, the demon king has been closely watching him for a long time.
Here’s where you will be able to watch Heaven Official’s Blessing Season 2 Episode 8 online.
Is Heaven Official’s Blessing Season 2 Episode 8 streaming online?
Yes, you will be able towatch and stream Heaven Official’s Blessing Season 2 Episode 8 on Crunchyroll.
The Eighth Episode of Season Two of Heaven Official’s Blessing is slated to release on December 20, 2023. The series is written by Chunri Youling and directed by Li Haoling.
The voice cast members of Heaven Official’s Blessing include Zhengyang Ma, Guangtao Jiang, Non Sepho, Ying Huang, Wen Sen, James Cheek, Hu Liangwei, Xuecen Bai, Ling Fei, Qiu Qiu, Adam Rowe, Michael Schwalbe, Jin Yamanoi, Anjali Kunapaneni, Dian Tao, Xin Shan, Wendee Lee, Hiroshi Kamiya, Lucien Dodge, and more.
How to watch Heaven Official’s Blessing Season 2 Episode 8 and stream online
As Heaven Official’s Blessing Season 2 is available to watch via Crunchyroll, you will be able to watch its episodes by signing up.
Crunchyroll offers three subscription plans to users, including:
Fan subscription plan – It costs $7.99 a month and allows users complete access to its library without ads.
Mega Fan subscription plan – It costs $9.99 a month and allows users complete access to its library without ads along with features like offline viewing and simultaneous streaming on four devices.
Ultimate Fan subscription plan – It costs $14.99 a month. This plan provides all the above-mentioned features along with free shipping on all purchases and more.
The official synopsis for Heaven Official’s Blessing Season 2 reads:
“Xie Lian, the crown prince of Xian Le Kingdom, successfully ascends to Heaven during his third trial in spite of successive demotions. However, he accidentally breaks the Gold Palace of heavenly officials. With no human worshiping him, Xie Lian has to descend to the secular world to exorcise ghosts, which may help him sustain his divinity.”
The Freelancer Season 1 Part 2Disney Plus Hotstar release date is right around the corner, and viewers are wondering when they can start streaming the TV series. Based on the book A Ticket to Syria, The Freelancer is an Indian Hindi-language action-thriller series. It follows the journey of mercenary Avinash Kamath, who is hired to save a young newly married girl from challenging conditions. Part 1 premiered on September 1, 2023, on Disney Plus.
Here’s when Part 2 is coming out on Disney Plus.
When is The Freelancer Season 1 Part 2 Disney Plus release date?
The Freelancer Season 1 Part 2 Disney Plus Hotstar release date is Friday, December 15, 2023.
This action-thriller series follows ex-cop turned mercenary, Avinash Kamath. He is hired to rescue Aliya, a newly married girl who is stuck in war-torn Syria. The show is executive produced by Gaurav Banerjee, Mahesh Menon, and Varun Malik.
The cast of The Freelancer Season 1 includes Mohit Raina as Avinash Damodar Kamath, Anupam Kher as Dr. Arif Ajmaal Khan, Kashmira Pardeshi as Aliya Khan, Ayesha Raza Mishra as Sabeena Khan nee Anwar, Manjari Fadnis as Mrunal Kamath nee Chikate, Sarah-Jane Dias as CIA Agent Radha Lampat Baxi, Sushant Singh as Inayat Khan, Navneet Malik as Mohsin Fazal, Geeta Agrawal Sharma as Asar Fazal, and more.
When is The Freelancer Season 1 Part 2 coming out via streaming?
The Freelancer Season 1 Part 2 is available to watch via streaming on Disney Plus Hotstar onFriday, December 15, 2023. Viewers will be able to stream it at this time.
Current Disney Plus Hotstar subscribers will be able to watch the series when it airs, and if you haven’t already subscribed to the service, you can do so below:
“Based on the book ‘A Ticket To Syria’, ex-Cop turned mercenary Avinash Kamath aka ‘The Freelancer’, takes up the daunting mission of rescuing Aliya, a newly married girl trapped in a war-torn Syria against the backdrop of growing ISIS terrorism.”
ComingSoon Editor-in-Chief Tyler Treese spoke with WandaVision set decorator Kathryn Orlando to celebrate the 4K release of the first Disney+ Marvel Cinematic Universe series. Orlando spoke about the process of designing sets from different eras and her work on the original Iron Man movie. WandaVision is now available to purchase on 4K UHD and Blu-ray SteelBook.
“Living idealized suburban lives, super-powered beings Wanda and Vision begin to suspect that everything is not as it seems,” reads the series‘ synopsis.
Tyler Treese: WandaVision is such a unique show for you to work on. Not only is it within the comic book realm, but you’re also going through all these different eras of time and playing with and paying homage to sitcoms of the past. What were the biggest challenges with that?
Kathryn Orlando: Well, for the set decoration department, the challenge, obviously, was to get the right furniture and the right goods into Atlanta, where we were filming most of it. We shut all the stage work — the interiors — in Atlanta, so we had to bring furniture and everything from all over the country. In that regard, I would say within that, maybe the vintage appliances were some of the hardest things to find. When you think about appliances, they hardly ever move, and if they do, they get dented. So we had to bring these vintage, perfectly pristine vintage appliances in from all over the country. I remember the ’60s range we brought from Chicago, and it had a big dent. We ran out of time on that one. We had to find something else, so it really was not easy.
But all the furnishings came from somewhere else, or we made it, like the sofa in the first set — the ’50s set. I had made the original sofa, but then the other pieces I’ve found everywhere and brought them in and covered things in vintage fabrics. The drapery was made out of authentic vintage fabrics, so I think that really helped. We were really careful to make sure that the design and the styles of furniture within the set were correct.
For those early decade sets like the ’50s set, since you know it’s going to be shot in black and white, does that come into much play when you’re picking what will photograph well and what will look good on screen?
It definitely did. We ended up using the grayscale mode in the iPhone, and we could look at all the fabrics in black and white and in color. We were just really careful to make sure that when we did see the Dick Van Dyke set at the end in Technicolor, it would look really cool. So we knew it looked good in black and white, but it had to also look good in color.
Of course, we wouldn’t have had time to redo the furniture for that, so we did spend a lot of extra time making sure of that. Mark Worthington, his team, and my team got together with the paint and the wallpaper and everything, and it all just came together. But it was quite an effort, I have to say.
What I really loved about the sets were that you obviously pay homage to iconic sitcoms like Full House and Malcolm in the Middle, but you don’t just ape their designs. How was it, putting your own touch on it and making it feel similar without being a one-to-one copycat? I thought you guys did such a great job of that.
Thank you. Well, first of all, my take on it was that this was Wanda’s memory of what these sets were. So they’re once removed from reality, so they wouldn’t be verbatim copies. I wanted it to feel more just in the spirit of the set — not exactly like this, but as I say that, I think probably the ’50s set was the most verbatim. Some of those things were completely spot on. When you really examine, you might first think it’s just mid-century modern, but it isn’t. There are a lot of different styles going on in that set. For instance, the coffee table was so hard to find, and it’s regency coffee table from the ’50s, but it was a different style than some of the other things in that set.
So that took forever to find. I didn’t think I’d ever find it. And I finally did, and it was kind of like a miracle. So we really tried, and I had buyers that would bring me things all day long, and I’d just shake my head, “No, no.” [Laughs]. I was super picky. So I might’ve been a nightmare to work with on that, but I tried to be nice about it, but I just … I also tried to explain to my crew that we had to nail it. There was one chair in the ’50s set — the wingback chair — I found that on the weekend out in the suburbs of Atlanta. It blew my mind because it was exactly the chair and it was exactly the color that I thought it was, but then I had to recover it anyway because it was a little worn. But that was a miracle, that chair. [Laughs]. It’s just a process — what can I say? It’s what I do. [Laughs].
You were the set decorating buyer for Iron Man, which was the very first MCU movie. How special was it to return for WandaVision? That had to be such a full-circle moment for you.
It really was. I have to say, because the crew that I worked with in Atlanta were quite a bit younger than me and they were blown away that I worked on that, but they know more. I had crew that knew the Marvel Cinematic Universe inside and out. My only experience was working on that show, but that was an excellent experience and I learned a lot about the Marvel universe on that show and, just in general, about working for Marvel and the aesthetic even way back then — this kind of slightly tongue-in-cheek, not so serious all the time kind of thing.
You also used your team from WandaVision on Ms. Marvel. How helpful was using the same team and doing those projects back-to-back? I imagine that’s a double-edged sword, as that has to be exhausting by the end of it.
Yeah. I have such an excellent crew in Atlanta that did both those Marvel shows that you mentioned. I think it was helpful that we had already done it. But Ms. Marvel was a totally different animal, so we had to approach it in such a different way. But we did have the same warehouse, so we shot at Pinewood in Atlanta, and we had this warehouse on WandaVision, and I had these aisles for every era, but then for Ms. Marvel, we had to fill it up with AvengerCon stuff, and we turned it into a warehouse — like a workshop where we made all those things that Ms. Marvel we made in our workshop. But it was my same team, so it was pretty fun, in that way.
WandaVision was the first MCU show, and it’s such a high watermark for everybody to try to reach and is so beloved. People still are so excited about this new 4K release. How fulfilling is it when all this hard work is out in the world and gets embraced by fans? Does that make all the hard work worth it?
It really was extraordinary. I have to say that, reading the script … the first thing you do when you start the job is you read the script, and I knew that that was a good script. I read all the scripts and they were all so good, so we knew we had something special. But yeah, it was so gratifying. It was wildly successful. I could not believe the success of the show. Then, We were nominated for an Emmy and then we won the Emmy for art department. It’s my life’s work. It really is the thing that I’m probably the most proud of at this stage of my life, I have to say.
Besides the house, there’s also the S.W.O.R.D. base that is seen throughout the show. How was setting that up? It’s very modern and different from everything else?
Yeah, I mean, that’s the thing. Any set deck or anybody that works in set deck, we love the changes. We love the diversity. I did have a separate team working on that, so I would be here, and then I’d be here and going back and forth, but I had some of the same people, actually, that you mentioned and that worked on Ms. Marvel, who built some of that stuff for the MCU. Just a lot of work, just a lot of dedicated craftspeople, so we work weekends … we work hard, we really do. [Laughs].
With your job, you’re often scouring listings online and going to the vintage stores. For those that aren’t as knowledgeable, what is that type of buying process like and the lengths you go to find the right item?
Yeah, you just cast a wide net, but the algorithms help. It’s just a lot of research. We go, we look at different websites that sell vintage. I want to say that we used almost all vintage. Everything was vintage. So there are vintage websites that sell furniture. Of course, there’s thrift stores and there’s prop houses, although we didn’t really use prop houses. There are just so many different ways that we go about it.
It’s kind of hard to say, but in the end, we’re just really careful about what we put on the set, and we have a budget. We have time and budget and all these constraints. It’s kind of picking your battles and deciding what are the most important pieces to really nail and make sure that you nail those.
The first footage of Agatha: Darkhold Diaries has been revealed, showing series star Kathryn Hahn during the filming of the Marvel Cinematic Universe show.
As part of a bonus feature video from the home release of WandaVision, behind-the-scenes clips from the upcoming series can briefly be seen during interviews. In them, Hahn is filming scenes in front of the cameras while wearing a new costume.
Agatha: Darkhold Diaries will see Kathryn Hahn reprising her fan-favorite role as Agatha Harkness from WandaVision. For her fan-favorite performance, she earned an Emmy nomination for Best Supporting Actress. The series will also feature the return of Emma Caulfield Ford and Debra Jo Rupp, who are reprising their roles as Westview residents.
Joining them are MCU newcomers Aubrey Plaza, Joe Locke, Ali Ahn, Maria Dizzia, Sasheer Zamata, and Patti LuPone, with Locke rumored to be the male lead and LuPone set to play Sicilian witch Lilia Calderu. LuPone also previously confirmed that the series will feature several musical numbers from Agatha All Along songwriters Kristen Anderson-Lopez and Robert Lopez.
Who is writing Agatha: Darkhold Diaries?
The upcoming project hails from head writer Jac Schaeffer, who is also serving as an executive producer along with Kevin Feige. The directing lineup will consist of Schaeffer, Gandja Monteiro, and Rachel Goldberg.
Snow lands on top! The Hunger Games: The Ballad of Songbirds & Snakes topped the Thanksgiving box office in its second weekend, hauling in $28.8 million (3-day, -35%) and $41.1M (5-day) to bring its domestic total to $98.3M per Deadline. The prequel remained atop the charts despite high-profile newcomers, namely Ridley Scott’s Napoleon, which finished with $20.4M (3-day) and $32.5M (5-day), and Disney’s Wish, which grossed $19.5M (3-day) and $31.7M (5-day).
Holdovers Trolls Band Together and Thanksgiving held well in their second weekends. Trolls finished in fourth place with $17.5M (3-day, -42%) and $25.3M (5-day), to bring its domestic total to $64.4M. Thanksgiving snared $7.1M (3-day,-31%) and $11.1M (5-day) to raise its cume to $24.1M.
Globally, the $200M Napoleon battled its way to $78.8M, besting Apple’s Killers of the Flower Moon. The opening is in the range of Scott’s Exodus: Gods and Kings, which enjoyed a nice holiday run en route to $268M globally. With a B- CinemaScore and minimal competition, the biopic should hold up well over the next month. PLF and Imax screens accounted for 34% of Napoleon’s ticket sales, including $5.3M in North America alone.
Wish’s lackluster performance continues Disney’s dismal year at the box office. Critics were mixed on the animated epic that cost $175-200M, but audiences awarded the pic with an A-. So, there’s hope that audiences will warm to Wish during the holidays.
DOMESTIC TOP 10
1.) Hunger Games: Ballad of Songbirds & Snakes (LG) 3,776 theaters Fri $11.4M(+88%) Sat $11.1M Sun $6.27M 3-day $28.8M (-35%) 5-day $41.1M/Total $98.3M/Wk 2
2.) Napoleon (App/Sony) 3,500 heaters, Fri $8.4M (+94% from Thurs), Sat $7.5M Sun $4.5M 3-day $20.4M, 5-day $32.5M/Wk 1
3.) Wish (Dis) 3,900 theaters, Fri $8M (+111% from Thurs) Sat $7M Sun $4.5M 3 day $19.5M, 5-day $31.7M/Wk 1
4.) Trolls Band Together (Uni/DWA) 3,893 (+23) theaters Fri $7.1M (+170%) Sat $6.5M Sun $3.9M 3-day $17.5M (-42%), 5-day $25.3M Total $64.4M/Wk
5.) Thanksgiving (Sony) 3,204 theaters, Fri $2.78M (+36%) Sat $2.78M Sun $1.58M 3-day $7.1M (-31%) 5-day $11.1M,Total $24.1M/Wk 2
6.) The Marvels (Dis) 4,030 theaters Fri $2.4M (+95%) Sat $2.5M Sun $1.5M 3-day $6.4M (-37%) 5-day $9.2M Total $76.8M/Wk 3
7.) The Holdovers (Foc) 1601 (+123) theaters Fri $1M (+96%) Sat $1M Sun $610K 3-day $2.75M (+2%), 5-day $3.75M Total $12.9M/Wk 5
8.) Saltburn (AMZ/MGM) 1,566 (+1559) Fri $622K (+106% from Thurs) Sat $675K Sun $438K 3-day $1.735M (+426%) 5-day $2.72M, Total $3M/Wk 2
9.) Next Goal Wins (Sea) 2,240 theaters Fri $665K (+40%) Sat $625K Sun $410K 3-day $1.7M (-32%) 5-day $2.57M/Total $5.7M Wk 2
10.) Taylor Swift: Eras Tour (AMC) 938 (-635) theaters, Fri $900K (+245%) Sat $833K Sun $597K 3-day $2.33M (-16%)/5-day $2.52M Total $178.3M/ Wk 7
11.) Five Nights at Freddy’s (Uni) 1,754 (-1075) theaters, Fri $650K (+150% from Thurs) Sat $710K Sun $390K 3-day $1.75M (-51%), 5-day $2.5M Total $136.2M/Wk 5
Peacock‘s new TV and movie releases for November 27 – December 3 include two Christmas-themed films, A Biltmore Christmas and Our Christmas Mural, as well as the British comedy-drama film Brian and Charles.
On November 27, viewers can stream A Biltmore Christmas, directed by John Putch and starring Bethany Joy Lenz and Kristoffer Polaha. The story revolves around a woman named Lucy Hardgrove, a modern-day screenwriter who is sent back in time to the set of a 1947 Holiday movie classic called “His Merry Wife”. Lucy is then faced with the task of setting things right or risk altering the future. Also starring in this film are Jonathan Frakes, Robert Picardo, David Alexander, Caity Brewer, and Tommy Cresswell.
Also on November 27, viewers can stream Our Christmas Mural, another Christmas movie starring Gina Landry and Dan Jeannotte in the lead roles. The story follows a single mother Olivia who is entered into a mural holiday contest by her mother and subsequently partners with a teacher to compete.
Then on November 30, viewers can stream Brian and Charles, a British comedy-drama directed by Jim Archer in his feature-film directorial debut and starring David Earl and Chris Hayward. The film is a feature-length adaptation of Archer, Earl, and Hayward’s 2017 short film of the same name, which premiered at the 2022 Sundance Film Festival. The story follows a man named Brian who goes into a deep depression after a very harsh winter and enters isolation with no one to talk to, leading to him building a robot companion.
New Peacock releases for November 27 – December 3
Below are all the new TV shows and movies being added to Paramount Plus from November 27 to December 3.
November 27
A Biltmore Christmas (2023)
Our Christmas Mural (2023)
November 30
Brian and Charles (2022)
December 1, December 2, and December 3 releases are unavailable as of this writing.
ComingSoon Editor-in-Chief Tyler Treese spoke with Best. Christmas. Ever! director Mary Lambert about Netflix‘s holiday comedy movie. The filmmaker discussed the actresses she worked with and designing Monkey Bob. The film is now available to stream on Netflix.
“Every Christmas Jackie sends a boastful holiday newsletter that makes her old college friend Charlotte feel like a lump of coal,” reads the movie‘s synopsis. “When a twist of fate lands Charlotte and her family on Jackie’s snowy doorstep just days before Christmas, she seizes the opportunity to prove her old friend’s life can’t possibly be that perfect.”
Tyler Treese: I really enjoyed the intro to Best. Christmas. Ever! You did a great job of setting up both families. Can you speak to doing the different manners? When we meet Brandy, we’re getting this nice overview of the family through this letter, and then when we see Heather’s family, it’s breaking the fourth wall and she’s talking directly into the camera. Can you discuss that intro?
Mary Lambert: It’s always a killer, how you open a movie. You’ve got to grab people. This intro was particularly well-crafted in the script by Todd and Charles, but I knew from the beginning that it was going to be kind of difficult to pull it off because we don’t really know who this kind of mysterious woman is who’s writing the letter, but we’re in her world. We’re in her voice, and we think we’re listening to her voice, but then Charlotte smashes in, and we realize that we’re not really with Brandy — we’re with Heather. We’re with Charlotte, who sometimes has problems with Christmas because it makes her feel insecure and inadequate.
She’s reading this letter from this woman who is the perfect wife and mother and always has the best Christmas ever. So I really love the way you think you’re with Jackie and then you’re with Charlotte. It was also fun to craft the little vignettes and to contrast Jackie’s perfect life as in the photographs that she puts in her newsletter with Charlotte’s slightly chaotic life.
I thought you touched on something really well, that Christmas can open insecurities for people. We see this with Heather’s character, who has this motive of trying to expose this perfect life we see on social media, where people try to project the ideal rather than what’s actually happening. It’s a very real thing that occurs, so can you speak to that part of the film?
Well, I love the opening of the film. But what really drew me to the script was that this character of Charlotte, who has flaws, doesn’t believe her friend. She sneaks around and tells fibs. She’s sneaky, and she’s doing it because she’s insecure. She feels like maybe her husband … everybody, everybody has these insecurities in their relationships and their marriages, or with their children, with their careers. Everybody has insecurity at some moment or another. You wake up and think, “I’m not good enough,” or, “She doesn’t love me enough,” or, “I’m not being the best mother I could be,” or whatever it is.
And I really thought it was interesting to see that personified in a really sympathetic character that Heather plays. Even when she’s been a little dishonest or sneaking around, she’s still … I think, as an audience member, you have to think, “I felt that way before.” I know how she feels, you know? So that’s what I wanted. What I wanted to happen there is for people to relate to her and think, “I felt that way before and I don’t have to hate myself because I felt that way. That’s just the way I felt.”
There’s an inherent charm to Heather’s performance, too. Even when she’s being sneaky and such, you’re still always wanting to see things turn out well for the character. I thought Heather [Graham] and Brandy had such a great chemistry. Can you speak a bit about the two leading ladies?
Absolutely. What I was trying to say about the character of Charlotte is that she’s not evil. She just has insecurities and ambitions and the emotions that we all share. Heather and Brandy had a great chemistry because they both, in a certain way, were their characters. Brandy just exudes this peace and happiness when she walks in the room. Heather has more of a bubbly energy, that infectious sort of energy that charms you and makes you laugh.
Then Brandy would start to catch that, and Brandy would get kind of bubbly and giddy. She would toss that back to, Heather, and they sort of started out being their characters. Then in the movie, they started this little tennis match of like, “Boom, I’m going to throw some of my character over on you!” “Boom, I’m going to throw some of my character over on you.”
I’ve got to ask you about Bob the Monkey. First off, where’d you find the creepy monkey?
Well, Monkey Bob was created from whole cloth. I designed Monkey Bob with our prop master. We hired a puppeteer to make him, because I wanted him to be floppy and to be expressive and be able to move his hand. I love props like that. I wanted him to be just a tiny bit creepy, because otherwise, he’s not scary, and they keep referring to him as “the creepy monkey.” We designed him from scratch and had it built. We had several Monkey Bob prototypes. I used to carry them around the office and see what people thought. That was fun. I love things like that.
What’s also great about this movie is Brandy gets to show off her singing talents, as she has two performances. How great was it to see Brandy getting to show her full range as both an actress and a singer in this movie?
I’ve actually directed quite a few music videos and a lot of really amazing female vocalists. It’s always really thrilling when you’re in the room with somebody that can really sing and is an important artist because of their ability to move people and to evoke emotions in an audience. Then you are in the room with them, like five feet away from them — the camera’s really close. It’s really thrilling. Singing is a different skill than acting. They can merge and they can support each other, but they’re different. Not everybody who can sing as well as Brandy can also act. But Brandy has a long portfolio of really great performances. Remember Moesha?
Yeah!
She’s so good in that. [Laughs]. I would watch it at night if I needed to just chill out. I watched a lot of Moesha when we were shooting, and sometimes Brandy would be over there and she’d be doing one of the serious scenes and I’d see a little flash of humor and I’d say, “That’s Moesha! Give me some more Moesha!” [Laughs].
I really loved Brandy’s daughter in the movie — the young actress is so fantastic. Can you speak to working with Madison Skye Validum? She plays a genius in it and has so many great scenes.
Madison was a dream to work with. First of all, she’s super intelligent, just like her character, but she had mouthfuls of dialogue. She had to memorize whole half pages of really complicated dialogue with tongue twisting words and technical stuff. Some of it was cut out of the film. I mean, I couldn’t believe her preparation. She’d come to the set and she would know every single word that was on that page, but she was still really open to adjusting her performance, and every once in a while, it would start to feel a little bit like a memorized page. But Madison was always able to work back from that and get back into it and be that joyful little genius that she plays. Madison’s going to be a big actress.
I wanted to ask you just about 1989’s Pet Semetary, because that film is still so beloved now. They keep trying to go back to the franchise, but that film is really the gold standard for that series. How do you view its legacy this many years removed?
Oh, wow. I don’t know, exactly. I feel really lucky to have been given that opportunity at that stage in my career, — to work with Stephen King, who’s a really amazing storyteller and dramatist. I, personally, have always been a storyteller, but my craft with narrative, I’m more of a visual person than a word person. To be able to work with a wordsmith like Stephen King and someone who knows how to craft a story arc and to craft the characters and to fit it all into this beautiful narrative structure … it was really an important thing for me to do, for me personally to do.
I feel like we came together in a collaboration, with his words and my pictures. I feel like I was able to achieve something that changes people a little bit when they see it, and hopefully … horror movies are there so that you can get your fears out in the open and laugh at them — that’s what they’re for. Or maybe not laugh at them, but at least give a nod to them and go, “Okay, I’m looking at you.” I’m dealing with it. I feel like with Pet Semetary, each one of the characters personifies a different fear that you, as an audience, can kind of walk through those fears until you can finally look the really horrible one in the face, which is the idea of losing someone you love, like a child.
The Spanish franchise La Casa de Papel, known globally as Money Heist, unveiled a new poster for its prequel spin-off Berlin. The upcoming crime drama series will hit Netflix on December 29, 2023.
A heist bigger than the Eiffel Tower
The newly released poster features the crew joining the hedonistic jewel thief Berlin (Pedro Alonso) on his greatest scheme yet: to steal 44 million worth of jewels in Paris. Starring alongside Alonso are Begoña Vargas as Cameron, Tristán Ulloa as Damián, Michelle Jenner as Keila, Joel Sánchez as Bruce, and Julio Peña Fernández as Roi.
Arriving two years after the final season of Money Heist graced the streamer in 2021, the prequel series will delve deeper into Andrés de Fonollosa’s (known by his alias Berlin) story during his prime. That is before the character ultimately met his demise in Season 2 of Money Heist, appearing through flashbacks throughout the show’s succeeding seasons.
Najwa Nimri and Itziar Ituño — actresses who played Alicia Sierra and Raquel Murillo, respectively — will also return for the prequel series to reprise their Money Heist roles. Netflix, however, has not yet revealed how the plot revolving around the two detectives will play out in the upcoming series. But with the eight-episode series exploring the titular character before he was diagnosed with terminal illness, viewers can expect a more evil, cold, sadistic, and self-indulgent version of Berlin when the series arrives on the streamer on December 29.
The synopsis (via Tudum) for Berlin reads as follows: “Berlin says there are only two things that can turn a bad day into a great one: love and a million-dollar payday. This is what keeps him razor focused on his lofty goals. So he’s preparing one of his most extreme heists yet — disappearing $44 million worth of jewels.”
Money Heist follows a group of robbers led by Professor (Álvaro Morte) as they carry out their heist on the Royal Mint of Spain. Along with Alonso, Morte, Ituno, and Nimri, the parent series also stars Úrsula Corberó as Tokyo, Alba Flores as Nairobi, Darko Perić as Helsinki, Jaime Lorente as Denver, Miguel Herrán as Rio, Paco Tous as Moscow, Hovik Keuchkerian as Bogota, Roberto García Ruiz as Oslo, and Esther Acebo as Stockholm.
Berlin serves as the franchise’s first stand-alone spin-off.
The Killer 2 is a proposed sequel to the 2023 Netflix movie The Killer, directed by David Fincher and starring Michael Fassbender. The original film, which released on November 10, 2023, garnered attention for its engaging thriller genre and notable performances, including a cameo by Tilda Swinton.
Here’s all The Killer 2 release date information we know so far, and all the details on when it is coming out.
Is there a The Killer 2 release date?
The Killer 2 does not have an official release date, but it will likely be announced in the future.
This optimism stems from several factors related to the success and reception of the first film, The Killer. The movie which released in 2023 garnered positive praise for its execution, neo-noir influence, and moody atmosphere. Although a sequel has not been officially confirmed, David Fincher has expressed openness to the idea, stating “I never say never. It doesn’t pay to have rules with that stuff.”
Currently, there are no concrete plans for The Killer 2. If it happens, it’s expected that Michael Fassbender would return, possibly alongside new and returning characters. The open-ended nature of the first film’s conclusion further adds to the potential for continuing the story.
Where is The Killer 2 coming out?
The Killer 2 could come out on Netflix.
The potential release of The Killer 2 on Netflix is likely due to the original film’s success on the platform and the established relationship between Netflix and director David Fincher.
The official synopsis for The Killer reads:
“After a fateful near-miss, an assassin battles his employers, and himself, on an international manhunt he insists isn’t personal.”
